If BIG BONED(aka fat) pianists lost weight

Or small boned(aka skinny) pianists gained weight

Would their sound change? :sunglasses:

If Yuja Wang turned into a 400lb behemoth and VOLODOS became a skinny meth/crack addict


If a pianist gained or lost a significant amount of weight, it should affect their sound. I can’t really think of any examples of this actually happening, but we should keep an eye on that chick from da QE comp the year Vinnitskaya won, in case she gets lapband surgery.

Da VOL win a big award and don’t even show up :sunglasses:

On a serious note I hope his health improves and I’d like to believe his sound wouldn’t suffer if he did the right thing for his health and lost weight

I used to have back problems too from playing piano. Da Vol always uses a chair with back support, although I never noticed him resting on it much.

Good idea to take regular breaks including back exercises + stretches

If you think about it, our bodies weren’t exactly adapted to sit at a piano all day so we have to mitigate the health risks

A great idea actually would be to invest in a keyboard on a stand and do some practice on that as standing is better for health&posture

The keyboardist in Rammstein even has a treadmill at his keyboard :sunglasses: gensui multitasking

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Bring back da suppository!

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ok da zepp vil zwiftly adapt hiz ztudio accordinly :sunglasses:

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HAHAHA da zepp can put da treadmill in da middle, n acoustic + digi 2x 88 combo fo a TRULY marketable sideways 88 vid

Watch diz mofo :sunglasses:




vizually a bit reminizheeeyat of da

guitarizt mofo from da MAD MAX FURY ROAD (10/10) :sunglasses:

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I definitely think their sound would change. I actually prefer “big boned” pianists (nicely put!) as a group, since their sound tends to be richer and they also play in a larger manner. da GELBER for instance is an extreme case who has one of the most marvellous touches I’ve heard. Most of my female favourites belong here as well. de Larrocha, Grinberg, Bachauer, Tomsic, Hess, etc.

I’m actually secretely hoping Wang would take her chocolate passion more seriously too. First since it’d finally take focus away from her dresses (I HOPE), and I think her playing would benefit from a more inherent stability and a wider colour gamut.

I think her (and everyone else’s) problems with colour are due to pedalling. To be a colourist you need to use less sustaining pedal, so that it becomes an effect. You should try to play as much legato from the fingers as possible. Moreover, the una corda should not be used as a ‘soft’ pedal.

Yes, so many students that I hear at school grab da una corda at every opportunity. Jeez.

How about, dizable dat pedal until u is ready to use it fo effects?

Maybe she’ll get fat when she has a kid like Netrebko. I actually forget sometimes what an incredible beautiful woman she was only 10-15 years ago.

Yes… the concept of colour is difficult to pin down. I also associate it with pedals (which surely is one aspect of it), but I can also think of at least Feinberg who has achieved remarkable colour with remarkably little pedal, and Schiff who has done it with no pedal at all. I remember me and the ninja concluded something about it here earlier this year, but I don recall exactly what. I think both touch and pedal are tools to achieve it however. Horowitz, Schiff, Cherkassky etc were masters of both.

I don’t think Wang’s playing lacks colour today though, but it’s also not the palette of a Cherkassky and similar - and it’s above all not very volumetric (combining several different sounds a la VH/Shura/Bozhanov, creating a pianistic or orchestral kind of depth, not to be confused with an interpretative one).

In fact, it’s precisely because they use less sustaining pedal to achieve legato that pianists like Schiff and Horowitz are able to play more colourfully. Wang is okay, she’s about par for the course. However, I compared her Scriabin 10 with Horowitz and it was night and day. Actually, colour isn’t that important to me in most repertoire, musically speaking. I’m more interested in it from a technical perspective. We’ve reached a level of technical understanding where the average pianist is far more proficient in seemingly every aspect of piano technique than 50-100 years, apart from colour (and sound production generally, although this is difficult to compare since few people alive were around to hear many of the ‘greats’ in the concert hall). Trying to ascertain the possible reasons for this deficiency is interesting to me.

Actually, I’ve been thinking if this might be since we’re further away from the Pleyels etc. Power didn’t really work on them, whereas tone, touch, colour etc were everything. I think you even see it in the indicated phrasings of Mozart etc, which seem pedantic on a SMD but which makes sense on older instruments. I wonder if it’s since Friedman, Cortot & co learned from teachers who came from these instruments and hence passed on an earlier tradition of playing, which now has transformed in to one more suited for JEFFs. It’s perhaps no accident someone like Schiff has also played a lot of period instruments during his career.

accordin to da zepp, dere r bazically 3 COLAHz on da 88:

accidental accuracy

tru da zound generated vil be different in all 3 cazez (zmooth, tenze n raped)

zo naturally da penizt who fuck up mo vil be da mo colahful

lyk da HO :sunglasses:

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da zepp writes in priztine colah at least :laughing: